고종 임진년 <진찬의궤>의 정재 복원화 연구 − 무동과 여령 정재를 중심으로 −
The Restoration Study of the Court Dance in the 『Jinchan uigwe(進饌儀軌)』 of the Gojong Era, Imjin Year - Focusing on the Dance of Mudong(舞童) and Yeoryeong(女伶)
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본 연구는 고종 임진년(壬辰年) 진찬의궤(進饌儀軌)(1892)를 바탕으로 19세기 무동과 여령의 궁중 정재(呈才) 복원화에 필요한 일련의 과정을 파악하고, 공연화의 가능성을 살피는 연구이다. 임진년 진찬의궤의 특징은 고종을 위한 연향으로 외진찬(外進饌)이 구성되었으며, 외진찬의 정재 공연은 남자 무용수를 뜻하는 무동(舞童)이, 내진찬과 야진찬⋅왕세자 회작 및 야연은 여자 무용수를 뜻하는 여령(女伶)이 담당하였다. 즉 무동과 여령이 함께 참여하였던 공연인 만큼 임진년 진찬의궤를 바탕으로 외진찬과 내진찬 정재 차이를 비교 분석하며, 궁중무용 복원화에 집중하였다. 고종 임진년의 외진찬과 내진찬에서 동일하게 등장하는 6종의 춤(<포구락>, <무고>, <가인전목단>, <경풍도>, <만수무>, <보상무>)을 선별한 후 「도식」과 「공령」을 통해 춤의 시각적 형태와 춤을 추는 구성원의 차이를 확인하였다. 그리고 이 춤들을 복원하기 위해 19세기 홀기인 무동각정재무도홀기와 정재무도홀기를 활용하여 무동과 여령의 춤 진행을 살폈으며, 그 결과 의궤와 홀기 기록을 반영하여 6종의 춤을 복원할 수 있음을 증명하였다. 특히 본 논문에서는 선별한 6개의 정재 가운데 <무고>를 선정하여 무대화 할 수 있도록 복식, 무구, 춤의 순서 등을 비교하여 무동과 여령의 <무고>의 재현에 필요한 요소를 확인함으로써 임진년 진찬의궤의 실질적 정재 복원화 가능성을 확인하였다.
Abstract
The document primarily focuses on a study of the 19th-century Korean court banquet, specifically the Jinchan Euigwe(進饌儀軌) of 1892 (Imjin Year). It compares and analyzes the dances of the Oijinchan(外進饌) and Naejinchan(內進饌), focusing on how these performances can be reconstructed and staged. This study centers on the Jinchan Euigwe of the Imjin year(壬辰年), a banquet held for King Gojong(高宗, 1852~1919) in the 19th century. It compares the court dances[呈才] of the Oijinchan and naejinchan banquets, Exploring methods to reconstruct and perform them. The study based on Dosik(圖式) and Gongryeong(工伶), six types of dances were selected based on differences in composition and choreography: <Pogurak(抛毬樂)>, <Mugo(舞鼓)>, <Gainjeonmokdan(佳人剪牧丹), <Gyeongpungdo(慶豐圖), Mansumu<(萬壽舞)> and <Bosangmu(寶相舞)>. To reconstruct these six dances, detailed analyses of dance movements from surviving manuals in Jeongjaemudo-holgi(呈才舞圖笏記) were conducted. Records specific to the 19th century were prioritized, confirming that the dances were divided into those performed by Mudong(舞童) and Yeoryeong(女伶, 女妓). For instance, Mudonggak Jeongjaemudo Holgi(舞童各呈才舞圖笏記) and Jeongjaemudo Holgi(呈才舞圖笏記) provided distinct sequences for Mudong and Yeoryeong. A comparative analysis of the six dances revealed additional elements, such as the inclusion of props <Mugo> and variations in dance sequences, which made reconstruction feasible. Focusing on <Mugo>, a detailed reconstruction of both Mudong and Yeoryeong performances from the Jinchan Euigwe was explored. Key elements considered included costumes, props, songs[唱詞], and dance sequences. For example, costumes showed distinct differences: Mudong wearing solid color’s hansam(汗衫), while Yeoryeong used multicolored ones, creating different visual effects even with shared props like drums and sticks. In terms of songs, Mudong did not use hyeopmu changsa(挾舞唱詞), but Yeoryeong did, enhancing the performance with both dance and vocal elements. The choreography revealed differences: in Yeoryeong’s dance, four performers first placed the props on stage, while Mudong relied on musicians for this task. <Mugo> by mudong began with all eight dancers performing together, whereas in yeoryeong's version, the main dancers started first, with others joining later. Such distinctions could be creatively employed in stage adaptations. Given the cultural significance of Changsa in these dances, modern performances should aim to fully utilize existing records, either through live singing or audiovisual elements, to convey the original intent of the pieces. This paper highlights the underexplored domain of Oijinchan and naejinchan dances from the Imjin year Jinchan Euigwe, focusing on their reconstruction and stage adaptation. While the study primarily examines <Mugo>, future research will extend to the other five dances, aiming to bring these historical performances to life.